the victims' families and hopes they'll find their answers. >> that's all they can do is keep hoping. there was a glimmer of hope when jimmy keene was involved. maybe something else will still evolve out of this. maybe the things i've done and am still doing will shine a light and give them hope at some point. -- captions by vitac -- www.vitac.com what man knows more about stardom than any other man on the man? that man will be here tonight. >> hi, piers, it's me. >> andrew lloyd webber is the biggest, everything from "phantom of the opera," tonight, his life, his career, his muses and the stories behind some of his most unforgettable music. >> so i came up with this and it's a kind of tango. ♪

>> and the singer who is storming the charts. no, not lady gaga, 11-year-old jackie evancho. ♪ may you find some comfort here ♪ >> this is "piers morgan tonight." have you seen a musical in the past 30 years? it was probably one of andrew lloyd webber's creations. he's won 7 tonys, 4 grammys and pretty much every other award going. and he's a lord. greatest accolade of all. lord lloyd webber. >> i 'm not sure about that because if you try to say lord lloyd webber late at night, it trips up even the very best. i thought you did it brilliantly.

>> you've just been to the spider-man premier. >> yeah. >> which has been the subject of unbelievable media criticism the last few months. how have they gotten themselves, do you think, into that position? >> i'm not privy to it but the producers who have been involved with it, many people who come from rock. and my guess is that the thinking behind it, it's not bad thinking this at all, my guess is is that they really are thinking of this as a long-term project for arenas, for rock places. therefore, they are perhaps looking at this as a bit of a lost leader, and i think they got themselves into more of a tangle than they thought. >> how are they dealing with it? they're only used to unparallel success in the rock business. this has been by most people's argument would be it's been a bit of a turkey for them, which they're not used to. >> i was sitting behind them last night, practically next door, and they were really delighted. the reception from the audience was generally very, very good. >> from a musical perspective, how would you rate it? >> i'm not a critic and i never talk about other people.

but you know, there were a couple of really good songs in there. and the thing about it is, is that writing for the theater is actually quite specific. and you could write a really, really great song and it be in the wrong musical in the wrong place because musicals are really, really story driven. and, therefore, it isn't just a question of writing, you know, a really great song. i mean you can't up with "yesterday" or "hard day's night" and be in the wrong place, and wrong show and work it to work theatrically.

i come at everything because i always start with a story. sometimes i get the story wrong, the wrong story and they don't work. if they do -- >> is the narratives key to longevity? >> yes, i think it is. you get an odd one. something like say "cats" which was a whole collection of poems by t.s. elliott and cats, his god children. that was great different. we stitched them together with a vague story that we discovered, that his widow had that he wrote which was a sort of, forgiven the pun, the cat's cradle. that is where we started with that. that's the exception that proves the rule. say "superstar" or "phantom of the opera," they're all strong, strong stories. >> have you had a situation where they've got, it opens and the criticism is pretty heavy, everyone is saying this isn't going to survive, and then has gone on to be a huge hit? >> yes. i think although "evita" had been a big hit in london "evita" here had bad reviews. the mood changed. funny enough, i think that's an intriguing one because in the late '70s america was a little bit in denial about talking about anything political. i mean, you remember the time, after vietnam, and i remember writing the early days of the "evita" run we hit the -- at the same time of the russian invasion of afghanistan, which i don't think anybody really completely understood what was going on.

i have just read a really, really great book about afghanistan, so forgive me for talk about afghanistan. i've gone off on a tangent. >> another time. >> suddenly people started talking about politics again. they said, maybe paralleled with what we were trying to say there was an interesting subject. >> how much have the critics gotten to you over the years? >> i don't really care very much if i don't think the critics really understand music. >> somebody that you respect, what is the most hurtful kind of thing they could say that would really get to you? >> i guess somebody who i did respect as a musician said that the score was humdrum or something, then i would be sad if i believed in the score. there are always going to be occasions where i think with musical theater, and particularly i think what i do in musical theater, it gets a little bit curious because i fit between sort of two camps. clearly the worst composer in history for "hairspray." i would be the worst composer in history, though i haven't seen it, i'm sure, for "book of mormon."

yet, on the other side of it, i am more operatic for people who think they are serious opera people. >> broadway is on fire, making a lot of money. what's that all about. some people say it's a success of "glee" on television, revival of musical to young crowd these days? what do you think it is? >> i think the television, i've been involved with the television casting programs in britain. no question that does help. the fundamental thing is doesn't matter who you are or what you are that you do want to go out to some kind of live event and people like the idea. even if it's going to a restaurant. they can't just sit over their computers all day and play endless games and twitter all the time. people actually do like the thought of going to a space where they hear the reaction of other people. and they can hear, if you're part of a communal experience in the theater. >> unlike many of your colleagues in the theater, you are not remotely snobbish about

talent shows. you've been a judge on shows in britain. you've been a mentor to "american idol." what is your view of them? can they produce bona fide a stars, do you think? >> of course they can. the real thing which i found in britain, more difficult to do here because it's such a big country that people think it's, if i live in san francisco why would i vote for a girl who might be going to the "wizard of oz" or broadway. that's a different thing. in brittain, much smaller, what we've been getting is kids coming up, particularly in the last program i did which was the "wizard of oz" coming from backgrounds where they would not remotely conceivably get to see me in an audition. >> you saw that on "american idol," you would see these kids who came from nowhere. >> i find that exciting, actually. i came on "american idol" possibly in a way that other people hadn't at that time. i always try and get the best out of them. if you've got somebody sitting there, you want to try and say to them, think of the words, just think, what is it your you're singing about. it's amazing what you can get

out of people if you only let them have a try. >> when you watch a susan boyle, for example, what do you think of someone like her? >> susan boyle, i mean, of course i mean we all know. it was an extraordinary moment not just in television but one of the most exciting things that happened to a musical. talk about something out of the blue for les miserables. extraordinary moment. and i would be careful what i say because i know her a little bit. i know all the people who work around her and with her. and she has got a really, really fabulous voice, which has come from nowhere. and never would have happened without television. i don't know that she would be able to sustain a role in a musical because i think that might be just keeping focused like that for a whole evening and doing eight shows a week is one thing. but people who said it never would work, it's certainly worked for the girl who is doing the "wizard of oz" and doing all the shows. >> later in the show we have jackie evancho coming on.

she will be singing with david foster, who you know, and she came in second on "america's got talent." amazing voice. >> i heard a little bit about her because she sang one of my songs. >> that's right. >> i think my ex sarah wrightman sang with her. >> i wasn't judging sarah but they did a duet together on the show. it was incredible. you saw a 10-year-old girl almost hold her own with sarah, which i did not ever expect to see. >> i knew sarah was very impressed with her. a little bit worried about that "britain's got talent" because you know they did a song with a girl who sang it with a dog. i wasn't sure about that. >> hang on. >> this could be going a little bit far. >> let's take a break. >> improved it. >> take a little break. i'm going to take you to that piano because i want you to weave a bit of your magic for me. take me on a trip down memory lane when we come back.

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♪ ♪ the phantom of the opera is here ♪ >> back with my special guest andrew lloyd webber. that was not just the great

musical but possibly that was the greatest musical of all time, "phantom of the opera." >> maybe not the greatest but statistical statistically, the most successful. >> how many people have watched it over the years? do you know? >> i don't know. it's extraordinary. it has -- it still is, i think, the highest grossing entertainment of all time. of course, it's apples and oranges really because if you show something in cinema and show it to people who are paying a lot less money than in the theater, of course. the "phantom," you're never going to get near again in a career, ever. >> people are fascinated by it. i am with you. how do these things come to you? you're a melodist at heart, but how does a melody come to you? >> "phantom of opera" i'm a melodist but i'm also a theater

animal. so stories are the things that come to me. but the story of "phantom" happened in a very roundabout way. when i was about to get married to sarah was offered a joking version of the story of "phantom of the opera" which was going to be done at stratford. she needed to go to london in new castle and she didn't think the idea was good. they were going to use real opera. it came on and it was exactly that, it was wrong. i saw it with cameron mcintosh, the producer, and we thought maybe it would be a fun thing for us to produce. we didn't get any more than that. we thought we know the director jim sharman who directed "the rocky horror show." that is really what it was like the phantom come swinging from the boo-hoo. >> so you have a concept. where does this music come from? >> to finish the story, he said no, he didn't want to do it. cameron and i forgot about it, completely. nine months later i'm in new york and there's a book fair going on in fifth avenue and as a copy of "phantom on the opera" i buy it.

it cost 20 cents. buy the thing. read it. find the most confused story that ever happened but a love story. not a fast novel, but something in there. it ended up saying when the phantom, whose body was exhumed for some reason, it was dug up and there was a ring on his finger and it was christine dire's ring. i thought, oh, my god. so it started. i wanted to write a high romance. this was high gothic stuff. >> physically, what do you do? you sit at a piano and you get this idea. how do you come up with these songs? >> the "phantom," the phrase -- for example -- ♪ i thought as a dark rock song. wasn't specifically "the phantom of the opera". in fact, the phrase went da-da-da-da, i changed it in the end to da-da-da-da. you see? these things evolve.

but it's quite funny because we're coming up to the 25th anniversary of "the phantom of the opera" and we're going to do a big concert in london to celebrate. i've been through the archive footage and everything and it's extraordinary how different how the first try out of the phantom was that we did to how it ended up on the stage. some of the songs were there, but then half of them sort of went. >> tell me about "evita". that was another hit, a huge success on broadway in london. we talked about how it didn't start. there's a great story "don't cry for me argentina." >> i was working on an extremely ill fated musical called "jeebs" which never saw the light of day. well, it did, unfortunately, for a brief time. i was so depressed doing it. tim came up with the idea about "evita."

what we have to do is find a melody that becomes her anthem and then turns on her. as she's dying and i saw that happen on stage. i saw judy garland once in "the talk of the town" at the end of her career and she sang "over the rainbow" and it was a travesty. i thought if i could find a song for "evita" after she turned on herself. so i came up with, after a while -- ♪ -- and it's kind of a tango. ♪ it started off in the show which was "don't cry for me argentina for i'm ordinary and unimportant." that's how it began. three girls sang that early in the show. when it came out to the main moment when she comes out on the balcony, she came out to the words "it's only your loving returning, only the truth is i never left you." i said, tim, no. it's not da-da-da-da, anyway that's not really a great title. so we tried, my crazy and wild days, was one of them. ♪ all through my crazy and wild days ♪ ♪ the truth is i never left

you ♪ then we said why don't we call it "don't cry for me argentina." it's a great title. it doesn't mean that much. but for some reason the words and the title is such a good one that it just stuck and nobody ever asked that question. but for me. >> so it doesn't really matter then? >> of course it does. that's just a very, very one off example, but it is such a well known song that people don't think that it could have possibly ever had gone another way. >> where do the melodies come from? i've heard you tell me before that you can literally be walking down to your village store at your place in spain and a melody would come to you. >> yes. i wish i could tell you why. sometimes you get a melody that you work on and work on and work on and it doesn't come easily but you begin to think -- one of this is "tell me on sunday." i spent a long time on this one.

♪ trying different phrases. trying to take it different directions. a song which was hugely successful song of mine but not so well known in america. but i had a very, very big hit with a song called "no matter what." i'll play it quickly or simply, rather. ♪ that was the tune of that. ♪ statistically that's one of my biggest ever. ♪ i wrote that. it just came. what i was doing was ticking around on the piano, which i often do. >> can you literally get the whole thing in your head? >> sometimes it comes like that. what also happens you're sitting at a piano and going just playing around which i often do just for the sake of it. i come up and say -- ♪ suddenly you go -- ♪ >> do you feel like a eureka moment?

>> i had been sometimes gone off, gone to the frigid and opened a glass of wine. what was that? i come back. >> you write it down. >> i do. as i'm getting older i now always take a little music pad around with me. because in the old days if the tune was any good i would remember it. that happened with "jesus christ superstar." >> hold that note. when we come back i want to talk to you about the big musical that lifted you particularly here in america, "jesus christ superstar." >> you have started me off with the famous chorus. >> that's the one. [ bell rings ]

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♪ jesus christ superstar ♪ do you think you are what they say you are ♪ ♪ jesus christ superstar ♪ do you think you are what they say you are ♪ "jesus christ superstar," the musical that propelled you

and time ricener into the str o stratosphere. very controversial at the time. of course this mormon, the musical is exploding and winning tonys. >> i don't know. maybe you can't, maybe some people these days you can't really shock people maybe. but we never wrote "superstar" to be in any way shocking. we wrote it because we wanted to write the story of the man. in fact, we really wanted to write a love triangle because the whole thing, was judas s a ascariot betray god or have god on his side? which bob dylan and i did. did jesus get betrayed.

what's very thrilling for me is that this production up in canada. it's really the first time that i've seen the love triangle absolutely tackled broadside. >> you've created these amazing musicals. in '76, i think it launched. even now people are doing new versions of them that can dazzle you. >> it depends on the quality of the actors and performers. this one happens to be very well acted. "superstar," nobody was interested in doing it in the theater when we started. so we did it as a record. all we did was "joseph and the technicolor dream coat." everyone thought we should do moses. so we did another one. we thought we looked at that. one time "jesus christ superstar" was going to be ♪ samuel samuel this is the first book of samuel ♪ >> that true? >> yes. >> one song was "kansas morning." ♪ i long for kansas morning her dreadful line. ♪ i see you now ♪ you're flying high ♪ kansas on my brain

♪ i'm trapped in maine i mean, really. >> i know it's a bit like asking which is your favorite child. which of all the musicals is your personal favorite of yours? >> oh, difficult one. i'm very fond of "sunset boulevard." >> that's my favorite. >> but in one sense i think it's one of the most complete ones i've done. "phantom of the opera" i'm very fond of. i genuinely think -- when the guy says "turn the lights on." i mean, the lights come together, and that is a genuine ope

operatic movement. >> she was fantastic. >> wonderful thing. superb actress. the fact that she wouldn't really consider herself to be a great singer but it didn't matter because she -- he held the stage like nobody else. >> it is true that michael jackson wanted to play the phantom? >> yeah. he wanted to play the movie. i mean, i thought carefully about talking about this especially after his death, and i sounded like i was jumping on the bandwagon a bit to talk about it then. it is true. he came to see it several times. he came to see it here in new york. >> did you speak to him about it seriously? >> yes. but the film was at that point so far away down the line, people in those days were very worried that a film if it was made would destroy the broadway or the west end show, everybody would just go and see the movie. it's been completely the other way around. if you make a movie it's a great help for the theater. goodness knows what it would have been like. >> he would have been incredible, wouldn't he? >> i think he would. there's another person who

really wanted to do it but he died. again, and maybe it is because of the phantom, but it was a longtime ago with sammy davis, jr., who wanted to really play the phantom. >> he wanted to play the phantom? >> he wanted to play the phantom. everybody was a little bit -- they were a bit frightened about it because i suppose he could have been taken the wrong way. but i did really want to do it. one of those funny things that you get categorized people. because i suppose he was a generation slightly before mine, i always thought of him as a cabaret singer and i didn't think very, very much of him. i didn't know. well, liza minelli who is an old mate of mine in the south of france who said, you've got to come and hear sammy davis. fine, fine. i have never felt so ashamed in my life. for 2 1/2 hours i had heard one of the most consummate performances of my life as i've ever heard that night.

and he ended up doing the music of the night. i'll never pre-judge anything. you can never tell. >> who of all the performers you had, if you could relive one moment live again that you've experienced of all these shows, all the opening nights and everything, which one sticks most in your memory? >> it's difficult, really. i suppose, funny enough, "memory" on broadway was an extraordinary moment on the the first night there when betty buckley did it. the big moment when he gets to touch me. ♪ the whole audience applauded. just across it. >> wow. what were you thinking when that happened? >> i did think that's fairly extraordinary. robert stigwood, people remember, used to manage me. he ran down the aisle and said, andrew, you've done it. that was a great moment. now people run the other way. >> that leads me neatly to the irresistibility to women. what do you put this down to? you've had a series of beautiful

wives. >> i'm not sure. i am that irresistible lately. but you know, i think that sarah brightman and i had a great rapport through music, and you know, i think that music says a lot of things. there are a lot of people who really don't like music, but people who do, then again, you can talk a lot about it. there are a lot of artists who -- >> do women find musical genius sexy? >> i don't know, because i don't think that i am one. i do know that you can sort of play -- >> you're being absurdly modest. anyone that can conjure up these kinds of melodies and become anthems around the world, that is genius, isn't it? >> i don't know. maybe that i have a good ear for tunes. >> who do you think is a musical genius who is alive today? >> today? >> yes. >> well, i'm so really obsessed with melody.

i prefer to say that i think, look at the last century, say richard rogers, i think, was absolutely a genius. gershwin was. prekofiak, i mean, anybody who can do -- ♪ -- for a cat. sums up a cat in exactly four bars which took me 2 1/2 hours to do. he's a genius. i think of the living composers who are around now. i really, really think paul mccartney. some of mccartney's melodies are just sublime. >> take another break. when we come back we'll talk about you are the world's greatest luddite. you don't have a computer. you don't drive a car. you don't have a mobile phone. >> i've had two. >> have you really? >> i'll tell you about it. >> everything has changed.

play us another one of your songs. >> what shall we have? let's think. ♪ >> oh, love this. ♪ ♪ my only sunshine ♪ you makes me happy ♪ when skies are grey ♪ you'll never know, dear ♪ how much i love you ♪ please don't take my sunshine away ♪ [ male announcer ] as long as there are babies, they'll be chevy's to bring them home. ♪

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♪ ♪ ha ha ha ♪ ho ho ho ♪ and a couple of tra la las ♪ and that is how we laugh the ♪ day away in oz ♪ and a couple of la ta-das ♪ and that is how we laugh the day away in oz ♪ that was from your new musical which is a revival of the musical "wizard of oz" of course, which wasn't yours. how do you decide what to choose to revive? how do you work out what you think will catch on for a modern audience? >> i've been doing these tv casting series back in britain.

the trick is you have to find a character to cast the public knows. the role of dorothy is something that everybody knows. we started with that. interestingly with "oz" it's never work in the theater before. we looked at it very carefully. that's the team i put together came to the conclusion of what people have been trying to do is to stage the film, whereas what you had to do was to go back to rethink it. therefore we discovered that no song for the wizard, no song for the wicked witch, no song for the good witch, and i got permission from warner brothers who control it nowadays i could write more songs, so i asked tim rice -- after 30 years -- >> dream team. >> we're back together again. >> very exciting. >> it's been good fun. >> like mccartney. you can't live with each other or without each other. >> i don't know. we're in constant touch.

we were planning to do "jesus christ superstar" as an arena tour next year. now that this production has happened at stratford. i can't do it without tim. tim is not interested in the production side of thing as i am. i just love the theater. >> you love his words. he's a great fit. >> timmy is a great lyricist. >> in terms of other revivals, there is talk about "evita" coming back. >> "evita" is coming back. >> any idea who the star is in this? >> i've told ricky martin is playing che. i'm told, because i am not producing it. i have not been involved with the stratford production, and i have a production in australia, and i havet no been involved with neither, and that is fantastic. everything that the london production isn't. i'm not involved with either. >> are they coming up with the problem here, andrew? >> i'm not being involved with it. i'm beginning to think it's up to the village i live in. >> fascinating. you don't drive a car, right? you don't -- >> not anymore. >> you don't have a mobile phone, cell phone. >> no. >> you don't use e-mail? >> no. >> i have sent an e-mail. i sent one e-mail in my life to

nicole shirtsinger. >> saying what? >> i can't remember now exactly. said something. i bought this ipad. probably doesn't work. >> can you use the ipad? >> it doesn't work. >> you don't know how to use it. >> i've been to australia with thing. here. to los angeles. i've been all over the place. i've been to london, bristol, you think it might work. go to a hotel or something, and it does not connect up. ? could it be you, andrew, that is the problem and not the ipad? >> no. i've given it to other people and it won't connect up. it's this particular ipad. >> you also appear to send your daughter a tweet last week, a tweet. >> i know. >> this has to do with the ipad. it wasn't actually me. i dictated the tweet. >> you know the vocal coach who was on your program. >> "america's got talent." >> old friend of mine. i'm sitting in the studio is ridiculous tweet coming through. i just said, only girls got

anything better than sitting tweeting all day. it seemed to have caused an uproar. i'm very fond of evie. great vocal coach. >> she's amazing. she's worked with jackie and everybody. >> she's a key player. she worked with me on the album "love never dies" and got results from the singers that i've never heard from anybody else. >> if you were casting the all time dream musical, who would you want standing on that stage? >> elvis. >> who else? >> elvis would be great in a musical, wouldn't he? any musical. do you know, i would have loved gone back in time and worked with somebody like mary martin who would have been a consummate pro. >> sinatra? >> sinatra, he obviously -- he didn't do a stage musical. didn't he? a lot of film musicals. i would have loved to worked with him. i think of all the people and i'm so lucky to have worked -- glenn close, i think, would be very hard, very hard to follow. >> you've had many surreal

moments in your life and you've met everyone in the entertainment world. what's been the most surreal kind of pinch me moment in your life, for you personally? >> most surreal. i don't know. it's a difficult question to answer. >> were you in a hotel bar in los angeles, sinatra and dean martin? >> that was a little strange. it was about 3:00 in the morning. i don't know why. in the bar in peninsula in l.a. i come down to the bar. i got a night cap. i was on british time and you know how you get a second wind when you're on british time you get a second wind. in the corner is frank sinatra. he says that's andrew lloyd webber over there. great privilege to meet frank sinatra. seemed to be a great idea to have a cocktail at the time. so i sat down and joined him and it was all fine. couple of drinks. suddenly he turns to the waiter and says bring me the grand piano. the grand piano was wheeled across the whole bar of the peninsula.

>> fantastic. >> i can't remember what i played. i mean, it was -- >> you played and he sang? >> i think so. >> what a moment. >> i think so. >> in the hotel bar of the peninsula in l.a., you and sinatra. >> i don't know how surreal it was. >> apparently you were so drunk neither of you remember. >> i think i blearily got through "my way." >> you've certainly done it your way. i wish you good luck with all of your adventures, as always. >> thank you for asking me. ? thank you, andrew. good to see you again. >> coming up, the singer who is tearing up the charts she's 11 years old, the incredible jackie evancho. ♪ for that second chance ♪ for a break that would make it okay ♪ ♪ there's always one reason ♪ to feel not good enough

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me, to be honest, the moment

♪ that is one of the most extraordinary performances i've ever seen on "america's got talent." that was incredible moment in the young life of my next guest and pretty incredible moment for me, to be honest, the moment when jackie evancho's career exploded. she was the runner-up on the fifth season of "america's got talent." she made an impact. she has a new album, which is as we sit here destined to be number one in the charts. jackie is here now with the legendary producer david foster. david, welcome. jackie, how lovely to see you again. >> i can't believe i'm here again. i'm so happy to see you again. >> we had quite a little journey together, didn't we? >> yeah. >> because the extraordinary thing about you, is you didn't even come to a normal audition show like most of the contestants. we did this extra show, a youtube show, send in your clips to you tube and the first time i saw you was a live "america's got talent" show in front of 15 million people, and you were

completely nerveless. you just showed so much confidence. what were you actually feeling when you came out? >> i was actually feeling, please do not mess up, this is my big shot. you know, i really wanted to get it. >> where does that voice come from because you don't have a voice of a normal -- how old are you now? >> i just turned 11. >> 11-year-olds shouldn't sing like you. where do you think this voice comes from? >> i believe that it comes from god. and if not, then just a musical family with great supporters and all. >> you're a lovely family. they're very protective of you. david, you've worked with the greatest singers on earth. how does jackie rank given her age, do you think? >> well, to say she is at the top of the heap would be an understatement, and you are right, i have had the great luxury of working with a lot of singer s from celine to many

others. so i got to watch it as a person and not as a musician not knowing i would produce the album. >> it was electric. >> it electrified the country. >> and you sang with sarah brightman and it is one of your heroins, i know, but it was an amazing moment for us to tell who the professional singer was, you were so good that day. and you is a lucky giggle, and you find all of this quite funny, don't you? >> yes, i do. >> who are your favorite singers, because david has worked with them all? >> i have to say that i have never ever said this fr before, because it is something abnormal for an 11-year-old to say, but i do believe that barbra streisand is a really, really great singer and i am happy i got to do a

duet with her, and so is lady gaga. >> and so is susan boyle. and what is your life like? >> well, my life is a back and forth and my parn parents do a job managing it. they don't have me performing a lot, but when they have me perform, they make it fun, and when i am done performing, goi home and live a normal life which is great for me. >> and there are strict rules about how late she can stay up and they are very good about that. >> in terms of the potential, you have an 11-year-old girl here selling millions of records and how far could jackie go? >> well, the truth of the matter is she could go either direction pop or opera, because she has a great understanding of each not unlike andre bocelli, and if she

wants to be the greatest opera singer of our generation, i believe she will be that and more. >> no pressure. >> no pressure. >> do you ever get nerves now or no? >> i get a lot more nervous, and doi get nervous, and very nervous especially with the big ones. the big performances. >> well, we could not be happier for you, jackie, because it is an amazing thing because you have the voice of an angel as we said on the show, and i'm very excited because you are going to sing, and david is going to play the piano, and these are going to be tracks from the new album. thank you for coming on, and keep going, because the better you look, the better i look as a judge. >> thank you, piers. >> thank you, david, and good to see you, jak ki. of at&t and t-mobile would deliver our next generation mobile broadband experience to 55 million more americans, many in small towns and rural communities, giving them a new choice. we'll deliver better service,

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right now a special performance for this show. jackie evancho and david foster. jackie, what are you going to sing for me? >> i'm going to be singing a song called "angel". >> what else? a little angel singing "angel." ♪ ♪ spend all your time waiting for that second chance for a break that would make it okay ♪

♪ there's always a reason to feel not good enough and it's hard at the end of the day ♪ ♪ i need some distraction, oh, beautiful release memories seep through my veins ♪ let me be empty and weightless and maybe ♪ ♪ i'll find some peace tonight ♪ in the arms of an angel, fly away from here ♪ ♪ from this dark, cold hotel room ♪ ♪ and the endlessness that you fear ♪

♪ you are pulled from the wreckage of a silent reverie ♪ ♪ you're in the arms of an ♪ angel may you find some ♪ comfort here in the arms ♪ of an angel fly a wway ♪ ♪ from this dark cold hotel room and the endlessness that